I feel that the merit of the work should stand on it's own.  But, a lot of the fun in buying a hand crafted object is knowing the person who made it. 

     I was born, and raised in Calif.  Through high school, I was most interested in liberal arts, primarily drawing, and literature.  I habitually spent the entire summer back packing in the Sierra's.  I graduated from high school with an ever lasting love of nature, and a deep respect for those who could work with their hands.  After being accepted at U.C. Davis, I concentrated on the natural sciences, and wound up with a degree in entomology.  During this time I took a few extra quarters to study art.  I decided that I needed an easel, so I found one that I liked, took all the dimensions, and built it out of mahagony.  I had more fun building that easel than I ever did painting.

     After graduating I landed a job at a local seed company, and grew vegetable crops for seed for 28 years.  With my spare time I built toy cars, trucks, and trains.  I needed a boiler and stack for one of the locomotives, so I bought my first lathe.  Well, that was about 20 years, and 3 lathes ago.  It's only during the past 6 years or so that    I 've been turning seriously. In 2004, through the present I have been mentored by an exceptional turner named Bill Flewelling.  Currently I will be turning full time.  So I expect my skills to improve as I explore different facets in the art of turning.

     The lathe is an incredibly versitile, and ancient tool.  The variety of forms that can be produced on it are only limited by the turner's imagination.  Currently my forms are primarily organic in nature.  I love to follow the grain through the wood, exposing it's patterning from different angles.  Producing an object that just has to be picked up, and caressed.  The wood that I use is all native to the Sacramento Valley, and is primarily scavenged from felled city trees.  I try to use as many different species as possible because I love the variation in the grain that they produce.  They vary from the delicate, light colored, patterning of sycamore to the bold,and often dramatic figuring in walnut.

     Generally when the rounds are prepared the pith is removed, as this is where the cracking will start.  But, nothing is sacred.  Pieces can be tuned pith end, or pith bottom.  I turn to finish both wet, and dry wood.  If the piece is to be dried, it is roughed out to about an inch thick, and sealed.  It is then stored in a cool place, and allowed to dry for about a year before it is turned to finish.  Depending on the species, and the moisture content, dry pieces will move less than wet ones.  Although, all will move to some extent as they are hollowed, and the pressure that is built up in the wood is released.

     Unless specifically designated as a service bowl , the pieces are minimally finished with a lacquer, sanding sealer.  Most are then buffed out with carnauba wax.  Service bowls generally have thicker walls, and a wider base, so that they are less prone to tipping.  I finish them with a food safe product called Mahoney's Oil Wax Finish.  It is a blend of beeswax, carnuba wax, and walnut oil.  It can be purchased at Craft Supplies USA, www.woodturnerscatalog.com.     

     I hope that you appreciate the pieces as much as I do.      

     Shows;  www.studioartistsgallery.com.